Guest Post: “Influences & Inspirations” by Jamie Schultz

My taste in books, of whatever genre, can be summed up as follows: I like to turn literary rocks over and see if something nasty crawls out. I can’t help it. For this, I thank my mother, who got me hooked on that stuff at a young age. I remember being about eleven or twelve when she came home with a box of used books, one of which was a battered copy of Stephen King’s Christine, old even then. The cover was black with a white or silver striped design with a skull on it, best I can recall, and I thought it looked pretty cool. Plus, I had read some of IT over her shoulder at some point, and, with a twelve-year-old’s typical fascination with the morbid, this seemed like a pretty good author to tackle. My parents’ attitude toward my reading material was, “Whatever you think you can handle, kid,” so I dug in.

Guest Post: “City of Stairs and the Super Tropey Fantasy Checklist” by Robert Jackson Bennett

City of Stairs is definitely a fantasy novel. It’s got dead gods, magic, monsters, political skullduggery, and a healthy serving of mayhem. (I actually think all my novels are fantasy, but that’s beside the point.)

However, despite the popular aphorism, the clothes don’t make the man: if I put on a policeman’s uniform, for example, that doesn’t make me a cop.

So despite City of Stairs having a huge amount of fantasy elements, I sometimes find myself wondering – does it act like a fantasy? Content does not dictate behavior, in other words.

This made me compile what I felt was the Super Tropey Fantasy Checklist, the sort of story components that are immediately familiar, whether you’re opening a book or sitting down to play an RPG. Such fantasy stories often feature:

Guest Post: “Writes & Wrongs” by Edward Cox

It’s time for me to admit that I might have taken the longest route possible to getting an agent. I’m something of a blunderer by nature, and learning the hard way is the theme of my life. So much so that I sometimes wonder how I managed to get an agent at all.

The original version of The Relic Guild is very different from the version that was signed by Gollancz. It was written for a Master’s degree that I concluded in in 2009. When I was coming to the end of that degree, I had been wondering if my work could hold its own with the bigger names in the publishing industry. I sent the first three chapters and a synopsis of the novel to the man who is now my agent. It impressed him enough to request the remainder of the book. However, although that early version of The Relic Guild gained me an MA, it didn’t quite make the grade with my agent.

For the sake of avoiding long and boring explanations, let’s just say that the original version was something akin to an academic exercise. The result fell somewhere between a fantasy adventure and a pseudo-intellectual dystopian wannabe. It was right for academic purposes, but wrong for the publishing industry. It had potential, but lacked focus and commercial value. Make it the fantasy adventure it wants to be, my agent said, and then we’ll do business.

Guest Post: “Writing in the devastating wake of the Teenage Mutant Ninja Turtles” by Jonathan Wood

To the best of my recollection, the first thing I ever had published was a review of the 1990 Teenage Mutant Ninja Turtles movie. I was ten. I belonged to a local Youth Club that put out a small paper ’zine every month or so. You could write in and volunteer to review movies. I was devotee of the TNMT cartoon, and had been awaiting the release of the movie with growing anticipation for months. I wrote in, and to my shock and delight was selected. I even got free movie tickets. Few ten year olds have known the height s of ecstasy I reached.

This is typically the point in the story where my dreams are all crushed, and I leave the theater shaking my fist at an unrepentant Hollywood heaven. But in fact, the movie fulfilled my every pre-teen wish. I laughed, I gasped, I demanded pizza afterward. As for the review itself… it was a breathless plot summary that descended into excruciating detail. My father cut me off when I was about halfway through – a mercy killing if ever there was one. As I recall, the final immortal line was, “And the rest was great too.”

Guest Post: “Where Writers Get Their Groove” by Sebastien de Castell

By far the most common question you get asked as an author is, “Where do your ideas come from?” Of course, my ideas come from the same places as yours do: the crazy parts of your brain intersecting with the crazy parts of the world around you. Human brains are hard-wired to find patterns even when there are none and those little synaptic misfires are part of what makes us creative beings.

Now, the question I never get asked is, “Where do you get your groove from?” Maybe this sounds like a silly question. After all, books don’t have a groove, do they?

Think about those big moments in a story when your eyes are racing across the page to find out what comes next. If the author is doing their job every line should be moving the story along at the perfect speed for the action taking place. Remember back to one of those heart-rending passages where your eyes suddenly freeze on the last three words of a sentence as the implications of an emotional turnaround hits you. That strange, almost magical timing is pacing. It’s rhythm. It’s groove. My first experiences with storytelling were as a touring musician, so I often go back to music for the inspiration in finding the right pacing for key scenes in the books I write. Here’s a few that helped put Traitor’s Blade onto the page.

Guest Post: “On Trying a Trilogy” by Tom Fletcher

Gleam is the first book of The Factory Trilogy, which is my first trilogy. My first three novels – The Leaping, The Thing on the Shore, and The Ravenglass Eye, are horror novels that shared a universe, but are essentially standalone. And so writing the first book of a trilogy was an entirely new experience for me – one that I was apprehensive of, but have found thoroughly enjoyable.

I wanted to experiment with developing a particular protagonist – or, as it turned out, group of protagonists – across a series. I wanted to have a go at presenting the readers with a character who would grow and change from book to book, and whose whole past could be explored. Obviously, this required a series built around a character. So I knew from the beginning that characterisation would be central to this trilogy, and that the protagonist would need a motivation compelling enough to propel them forwards through three whole books, and a personality that would carry the readers.

Guest Post: “Setting as a Character” by Patty Templeton

I have a great many tattoos. Entire appendages are coated in ink. One of my favorites is a small arsenic bottle and a sprig of blackberries on my left arm. It was inspired by the book We Have Always Lived in the Castle by Shirley Jackson.

Shirley Jackson. Geez. That woman. Though We Have Always Lived in the Castle is my favorite novel of hers – and the novel that inspired the tattoo, The Haunting of Hill House is what Jackson is most known for. Made famous by two movie adaptations and lauded by Stephen King as one of only two “great novels of the supernatural in the last hundred years,”^[1] The Haunting of Hill House was the first novel that made me aware of Setting as a Character.

If you are unfamiliar with The Haunting of Hill House, the main story thread is thus: four psychically-inclined characters (two women and two men) visit an 80-year-old mansion named Hill House to study the supernatural activity that may or may not be happening there. Strange. Events. Occur. Is it all in the minds of the slightly terrified inhabitants, do ghosts roam the halls, or can a place actually be alive and evil?

Guest Post: “Saying Goodbye” by Tom Pollock

So that’s it then, it’s done.

It’s a strange thing, finishing a trilogy. It comes with a sense of dislocation. I’ve spent the last five years – a sixth of my life – in a dream world: a London where the streets are lit by glass-skinned dancers with phosphorescent blood, and where the statues conceal a priesthood entombed by their Goddess in stone and bronze as a punishment, a London where the scaffolding can slide from the face of a building, rearticulate itself into a snapping, snarling steel wolf, and pounce.

It’s not letting go of the world that’s the strangest thing, though it’s letting go of the people. Because I’ve also spent the last five years in the heads of two teenaged girls. I’ve done my best to feel what they felt as they fell in love, and fought with their friends and were kidnapped by sentient barbed-wire parasites and took on the powers of urban gods. I’ve pretzel-twisted my thoughts into the shapes of theirs. To put it simply, within the bone enclosure of my skull, I’ve been them. And it’s been a trip.

Guest Post: “Writing Dystopians – The Good, The Bad and The Ugly” by Melissa Davenport

In recent years, dystopian fiction has taken the world by storm. Series such as The Hunger Games, Divergent and Delirium have exploded onto the book market and paved the way for this speculative genre, which explores social and political structures and is set in a societal structure that is headed for an irreversible oblivion, where justice, freedom and happiness are suppressed.

A speculative genre is commonly found in science-fiction, and the underlying concept is often an analogy for real-world issues. Some people even read these books as a political warning of things to come, should humanity make the wrong choices.

Today’s society is exposed to a particularly violent culture through television, gaming and rising crime. Dystopia’s are characterised by a “high stakes” scenario, with plenty of action and adventure, but they typically have a “hopeful” ending – and above all, people crave the presence of hope in a world where there is little to be had.

Guest Post: “‘You’re doing what?’ – Why I Decided to Self-Publish My Next Series” by Rachel Aaron

Whenever a New York published author decides to self-publish, there’s always the implicit assumption that Something Happened. Why else, after all, would an author who was presumably happily settled in a nice, big publishing house suddenly strike out on her own, like a child running away from home? Clearly, something terrible must have occurred. Was there a fight? A hot tempered editorial phone call where bridges were burned like kindling? Or perhaps it was the book itself? Maybe the story failed to meet the publisher’s expectations, and now the slighted author is unloading drek onto her fans for a quick buck?

Whatever imagined tragedy you prefer, they all start with the same opening: Something Happened. Something fundamental went horribly wrong in the publishing relationship. There’s simply no other plausible explanation why an author who’d already “made it,” who’d cleared the slush pile, gotten the agent and the book deal and gone on to write multiple series would give it all up and go it alone in self-publishing, the last refuge of the desperate and rejected.

I don’t blame anyone for assuming such things. I used to think them, too, and with good reason. Ever since I decided to get serious about my writing in 2004, I have been reading and researching and educating myself on the American publishing industry. If you’re going to be trying to make a living from something, it’s only common sense to figure out how it works. This education has been an ongoing process over all the years of my career, and for many of those, self-publishing was exactly what I described above: the place you went once everyone else had rejected you, a final long shot riddled with fraudsters eager to cash in on authors still desperately clinging to their great dream of being published.

Guest Post: “Whosoever touches the Tarot of Eternity…” by Rachel Pollack

THE USE OF TAROT CARDS IN THE CHILD EATER

Tarot cards appear in my novel, The Child Eater, in a number of ways, in particular a mysterious pack called the Tarot Of Eternity. In the story, the original has been lost for many centuries, so that the pack is known only through “a copy of a copy,” or even “a copy of a copy of a copy.” At the same time, the pack is seen as so significant that even these copies several times removed, but hand-created by magicians, have great power.

The book moves back and forth between two worlds, the first a medieval-style land ruled by wizards, the second a contemporary small city America. In the medieval world, an abused boy named Matyas runs away from his violent father to study magic. In the second, a lonely boy named Simon Wisdom desperately tries to suppress his deep psychic abilities, partly because he knows that no one likes him “reading” their minds, and more, because they bring him terrifying visions—dead children begging him for help, severed heads that live on in pain, and a gray man with an ancient stone knife. Matyas has similar visions, and he too does his best to forget them.

What bridges the two worlds, or rather crosses between them, is the Tarot of Eternity.

Guest Post: “Writing Real Women” by Jon Wallace

I reckon that one of the hardest things in the world, when you’re starting out as a writer, is when a friend critiques something you’ve written. You’ve put (what you regard) as a lot into it, you’re convinced it’s unparalleled genius, and when you meet to discuss your work you sit there confidently expecting praise.

Your friend normally starts off by giving you what you want: “I loved this, that bit was cool, I really enjoyed the way you did such and such”. You sit there, nod in agreement that it’s all great and think: Excellent, my skill is acknowledged. Then come the words:

“The only thing is…”

Guest Post: “‘Don’t Worry, It’s not My Blood’ – On Tough Guys” by Snorri Kristjansson

At this moment in time, human interaction is very heavily coded. We learn from a tender age what’s good, bad, not allowed and WHY ARE YOU POOPING UNDER THE DINNER TABLE?! (Which is, in retrospect, also ‘bad’.) We can talk for a while about where our behaviour comes from – some say ‘nature’, some say ‘nurture’, some say ‘a very small shed in Hatfield’ – but there can be no doubt that at the moment we are animals with highly complex behavioural patterns that start with ideals at an early age.

Now, I am a ‘man’. My generously padded 6-foot frame gives it away, as does the beard and the deep voice. And as a ‘man’, I’ve lived with the ideal of the Tough Guy all my life. He is tall (usually), mysterious (sometimes) and handy in a scrap (always). The Tough Guy might not be best suited to navigating the treacherous waters of, say, office politics or teenage girl drama, but with every roll-back of learned behaviour, with every step backwards to the rule of might, the Tough Guy’s role increases. Basically, when the going gets tough I will happily take my big ol’ manly frame and hide in a very manly fashion behind a proper Tough Guy.

Guest Post: “The Beretta 9mm” by J.B. Turner

Here’s the thing.

If you’ve read an American thriller, there’s a fair chance the protagonist will use a gun. There’s no way to sugarcoat that. Read any James Lee Burke and you’ll see either Dave Robicheaux or Clete Purcell pressing a gun to some bad guy’s head in the swamps of south Louisiana. Same with the great Richard Stark’s ‘Parker’ character in The Hunter, which became a film with Lee Marvin or later, Mel Gibson’s Payback.

Guns, some people think, go to the heart of what it means to be an American. It’s even written into the constitution, the right to bear arms.

My protagonist in the conspiracy thriller Hard Road Jon Reznick, an ex-Special Forces operative, is assigned a Beretta 9mm semi-automatic pistol – amongst a host of other gadgets and hardware including electronic jamming equipment – to carry out an assassination of a government scientist.

Guest Post: “Influences & Inspirations” by Duncan Jepson

During the last 150 years, China and the West have collided many times, virtually always on Chinese soil, and their relationship is heavily coloured by this history. Many in Asia are choosing and building their futures motivated by their own and their family’s experiences, ambitions and histories, much of it unclear and unknown to most in the West. The relationship between China and West is set to become more intense and complicated and we have to hope these two sides will work together rather than tear the world apart.

The story of Emperors Once More is about the collision of these different motivations and forces in China and among Chinese people, set against their position on the world stage. On a national level, the government is tasked with maintaining a union of a billion plus people so it does not crumble into chaos again, fighting the very human feeling of humiliation from centuries of defeat, both personal and national, the need to re-establish respect on the world stage, the clashes that will arise from the very practical need to obtain vital resources for the future and China’s new role in the global order. The story is also about those very personal experiences such as migration, subservience, colonialism, aspiration, ideology, revolution and tradition.

Guest Post: “Fantasy – It’s Not a Choice, it’s a Way of Life!” by Debbie Johnson

I was recently asked by a journalist why I felt ‘compelled’ to write fantasy. It’s probably very telling that my first frame of reference for that questions was ‘Compelled? Like, by a vampire or a mystical creature with mind control tricks?’

As I forced variations of ‘these aren’t the ‘droids you’re looking for’ from my brain, I tried to give a coherent answer – but it’s a very difficult affinity to explain to someone who’s not inclined that way. It stems from so many childhood memories – reading The Hobbit, getting bitten by the David Eddings bug as a teenager, watching Labyrinth 10,000 times when I worked as a cinema usherette in the 80s. All of this and more contributed to the kind of brain that sees things a little bit differently than other people.

Guest Post: “Influences & Inspirations” by Stephanie Saulter

I had, by any definition, an unusual childhood – I grew up in what was then a fairly remote corner of rural Jamaica, beautiful but quite isolated, in a resolutely free-thinking, non-conformist family. I have seven siblings so I wasn’t exactly lonely; but being the eldest, a voracious reader and not particularly gregarious, I never really felt I fitted in to the neighbourhood. Books were my escape hatch, my window into different times and places and worlds. They were how I worked out who I was, what I was interested in, what lay beyond the horizon.

The power of story to capture your imagination and alter your thinking and take you somewhere else had a profound effect on who I grew up to be, long before I became a writer of stories myself. And because so many stories celebrate the outsider, the loner, the person who is always second to the right of everyone else, I think they helped to reassure me that being a bit odd and a bit different was okay. You can be the hero of your own life, and it doesn’t have to be like anyone else’s life. I learned that early, and I learned it from books.

Guest Post: “Pantheon Inspirations” by James Lovegrove

So far my Pantheon series extends to six novels and three novellas. What is it about these military-SF tales of gods and men that I seem to find so fascinating? Why do I keep coming back time and time again to this well of inspiration?

Partly it’s because the ideas embedded in polytheistic religious mythologies are so wonderfully rich and exploitable, like countless mines yielding up different seams of precious ore. I myself do not believe in deities of any kind, but the stories that others have came up with about them over the centuries are pleasingly intricate and complex, full of incident and nuance. Every Pantheon strikes me as being like a dysfunctional family. Their conflicts and passions echo those of their worshippers. Even though they’re gods, they’re eminently relatable. They banter and squabble, have affairs, plays tricks on one another, lose their temper, just as humans do. The aloof, monotheistic gods whose faiths prevail in the world today aren’t anywhere near as interesting. Those guys are like grumpy father figures you can’t get on with and have to tread carefully around but are still supposed to admire. Where’s the fun in that?

Guest Post: “On Change, Blood and Iron…” by Jon Sprunk

Hello everyone. I’m Jon Sprunk, the author of Blood and Iron (which came out last week) as well as the Shadow Saga, both from Pyr Books. I’m so glad to have this chance to speak to you. Today I’d like to talk about change.

Whoa, whoa. Don’t click away yet! I know everyone has a healthy mistrust for change, but I’ll keep it painless. Scoundrel’s honor.

What I mean by change are the differences between writing my two series. For those who don’t know my work, the Shadow Saga trilogy was about a lonewolf assassin named Caim. The new series, The Book of the Black Earth, follows the stories of three people caught up in the machinations of an empire ruled by sorcerers.

Guest Post: “Inspiration in Translation” by E.J. Swift

The second book in my Osiris Project trilogy, Cataveiro, moves the action from an ocean city cut off from the rest of the world, to a South American continent which has been radically altered by climate change. I’ve always been drawn by the beauty of the South American landscape, but in writing Cataveiro I also wanted to explore something of the continent’s literary heritage. For inspiration, and in the hope that some of their flair might rub off, I started reading Latin American writers in translation.

The obvious place to start was with magical realism, although I was interested to discover a podcast on Latin American literature debating a move away from the form. I’d previously read Gabriel García Márquez’s One Hundred Years of Solitude, but while I admired the novel greatly, Marquez turned out to be my least favourite of the writers I discovered.